Anthony Powers

für Klavier, Violine und Violoncello Dieses anmutig strukturierte Werk wurde auf Wunsch des Lawson Trios geschrieben und kontrastiert atmosphärische lyrische Kompositionen mit Ausbrüchen turbulenter,...

Dieses viersätzige Werk steht für den Wunsch des Komponisten, "ein Stück echter Kammermusik zu schreiben, intim und gesprächig im Ton, das den Zuhörer in seine Welten hineinzieht". Das Ergebnis, so sc...

Das von der Cardiff University School of Music in Auftrag gegebene und dem dort ansässigen Streichquartett gewidmete Werk besteht aus einem einzigen, ununterbrochenen Abschnitt, der sich aus vier mite...

At only one point in the piece (bars 37-9) does the the level rise above piano. Despite occassional tuning demands, it should be well within the reach of many choirs. Offprinted from the collection Ca...

A Carol setting the text of Richard Hill for SATB Choir A Cappella.

For unaccompanied SATB chorus

For SATB unaccompanied. A powerful, dissonant setting of texts by Michelangelo, dealing with love, life and death. Powers was inspired by the idea that a block of marble contains the finished sculptur...

First published in Encores for Choirs 2, Peter Gritton's 'Three-Minute Messiah' imaginatively condenses Handel's renowned two-hour oratorio, with original lyrics that comically present the same story...

For SA and piano. A setting a A. E. Housman's poem 'In Valleys Green and Still'.

Written at the request of the Lawson Trio, this gracefully structured work contrasts atmospheric lyrical writing with bursts of turbulent fast music, including a rather rough and wild scherzo. The thr...

Nightsongs is a hauntingly atmospheric response to the famous and magically beautiful gardens at Ninfa, created a century or so ago around the remains of an ancient settlement southeast of Rome.

The five movements are like snapshots of different landscapes whose associations trigger fleeting memories and images including shadowy allusions to Mendelssohn, Haydn, Liszt, plainsong and gypsy musi...

For piano quintet (violin, viola, cello, double bass, piano). The five movements are like snapshots of different landscapes whose associations trigger fleeting memories and images including shadowy al...

This four-movement work represents the composer's desire 'to write a piece of real chamber music, intimate and conversational in tone, drawing the listener into its worlds'. The result, he writes, 'is...

Commissioned by Cardiff University School of Music and dedicated to their resident string quartet, this work is in one unbroken span that is formed from four linked movements. The work features sharpl...

The work is in one unbroken span that is formed from four linked movements.

This work is in two parts; each starts and ends with the same musical gestures, but surrounded by other music which results in the identical passages having totally different musical meanings.

The work is in one unbroken span that is formed from four linked movements.

For unaccompanied cello. This suite of nine short movements describes a cycle of sleep and the moods of its dreams. It ends with the morning bells and the bright E major daylight of the Epilogue.

These five pieces are taken from A Picture of the World, a setting of excerpts from the Tractatus Logico-Philosophicus by Ludwig Wittgentstein. In the larger work they occur as interludes between the...

For solo clarinet. These five pieces are taken from A Picture of the World, a setting of excerpts from the Tractatus Logico-Philosophicus by Ludwig Wittgentstein. In the larger work they occur as inte...

The composer writes: The structure is a short set of double variations, the two themes following a short introduction. One is flamboyant and rhetorical, the other gentle and lyrical. The first develop...

For violin and piano. The composer writes: The structure is a short set of double variations, the two themes following a short introduction. One is flamboyant and rhetorical, the other gentle and lyri...

Settings of nine poems by Irene Noel-Baker which take and transform elements of Greek myths. The piece shifts from the mythological past to the present, just as the medium of voice and guitar suggest...

To a text from Seeing the World, a book of poety by Dick Davies.